It's definitely soul [Vic Godard's] way. [Nov 2014, p.111]

They are a band still in search of that one killer track. [Mar 2017, p.108]

An exhilarating melange of '60s-style close harmonies, unashamedly funky guitars and psychedelia. [Aug 2009, p.112]

Using everything from string quartets to jet turbines, metal sheets and electric guitar, it moves from being severely irritating to moments of great beauty. Worth persevering with, if you're willing to go the emotional distance.

Walk Dance Talk Sing is most effective when, rather than relying on the tunes to work their magic, they lock the groove into a freewheeling funk-motoriik. [Jul 2015, p.102]

Though fatally flawed, Invincible does boast its fair share of sonic exhilaration. [#184, p.132]

By turns beguiling and unnerving, at times it feels like an exercise in disorientation. [Sep 2018, p.113]

A daydream of a record, one well worth drifting off into. [Aug 2012, p.115]

Pleasing though it is, [it] doesn't run too deep. [Sep 2015, p.112]

At times, there's tantalising echoes of Radiohead at their most accessible alongside more soulful diversions. [Sep 2013, p.104]

No great leap forward, then, just a solidly impressive album. [Dec 2018, p.111]

Suffice to say, the issues addressed here are as big as the music. [Nov. 2011, p. 142]

The result is disjointed but fun--and way more entertaining than Chinese Democracy. [Jun 2010, p.131]

A deep listen. [Apr 2017, p.111]

In parts, [the album] is certainly worth it. [Jan 2013, p.113]

His ninth record is ramshackle and there's a lot of it, but it's always entertaining. [Feb 2013, p.101]

Some of the Americanisms grate, but The Heavy dirty eclecticism wins the day. [Dec 2007, p.121]

This is a catchy, cocky, Avril Lavigne-y debut, its surface gloss making up for an ultimate lack of depth. [Nov 2008, p.118]

The '80s influence remain close to the surface secodn time around and Ryan James's lyrics are still hardly full of cheer, but it's a leap forwards. [Feb 2015, p.111]

With assistance from fellow electronicists and past creative foils Leo Abrahams and Jon Hopkins, this translates as otherworldly synthetic miniatures, rhythmic techno tension-builders and, on Forms Of Anger, a sudden rush of motorik rock menace. [Dec. 2010, p. 109]

Exists in the blurry middle ground that separates provocative experimental art from utter nonsense. [Nov 2004, p.130]

There are moments the focus blurs. But it's the exception on an album that dynamic, dramatic and remarkable free of self-indulgence. [Jun 2013, p.99]

That's not to say these 11 tracks lack merit, just impact, such highly-strung, right-angled songs as Right In Time frequently becoming bogged down in experimentation. [Jun 2003, p.96]

If From The Hills doesn't quite have the swing and swagger of 2012's self-titled EP, it shouldn't be hard to recapture that promise next time around. [Jul 2013, p.105]

LoveHateTragedy is a compendium of modern rock styles, glued together by Papa Roach's exuberance and Shaddix's outsized persona. [July 2002, p.119]

Sadly, there's also a depressing quantity of mush and devotion, totally at odds with his grinding best. [Sep 2001, p.122]

There are enough thrilling moments on Black Dialogue to justify the collaboration. [Apr 2005, p.123]

But for a little judicious editing, it's a pleasure we could have shared with him. [Oct 2012, p.99]